Sunday 12 April 2015
Dave & Stewart Wise: The End of Music (1978)
I still have the 1983 edition of this but the link above is to the full original text. Review by Stewart Home here
Mark Stewart - As The Veneer Of Democracy Starts To Fade / The Resistance of the Cell / Hysteria (Ramsgate 10/4/15)
Mark Stewart, Doug Wimbish, Skip McDonald and Friends, Live Mix by Adrian Sherwood. Voice offstage provided by Jenni BelleStar
Saturday 11 April 2015
The Normal - Warm Leatherette (The Car Crash Stretch Version)
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Here are cover versions of 'Warm Leatherette' by J.G. Thirwell, Suzy Quatro, Grace Jones, Velocity Star (ft Rose McDowall) and more
Friday 10 April 2015
FIRST LOOK - True Detective: Season 2 (Tease)
True Detective starring Colin Farrell, Vince Vaughn, Rachel McAdams and Taylor Kitsch premieres June 2 (HBO)
Thursday 9 April 2015
Tuesday 7 April 2015
Monday 6 April 2015
Wednesday 1 April 2015
The winner of the 2015 April Fool's prank award goes to...
But you gotta love this one too, especially as people are still falling for it hours later
Monday 30 March 2015
Sunday 29 March 2015
Saturday 28 March 2015
Submerged VS Bill Laswell - The Driven
The Driven describes the people running loose in the interior of the mental health section of the prison. "Auto-PILOT" - as fellow resident Semyon Bumagin called them. We were never sure if the Russian really had Alzheimer's, was faking in hopes of a reduced sentence, or was gaming us so well that us being unable to tell was all a part of his master plan.
Submerged - beats / synthesizers
Bill Laswell - bass guitar / bass noise
Balázs Pándi - live drums
Matt Labozza - effectron II / guitars / noise
SHVLFCE - artwork
Summoned by Submerged at Black Site Studio
Submerged vs. Bill Laswell "The Driven"
taken from the forthcoming album
After Such Knowledge, What Forgiveness?
Friday 27 March 2015
RA EX.243: Adrian Sherwood
Adrian Sherwood's love affair with reggae began as a teenager in High Wycombe. He started DJing in his early teens and then threw himself into the music industry—by the time he was 20 he had run a record shop, set up a distribution company and run multiple record labels. In the 1980s he forged a name for himself as a producer, putting his own distinctive, uncluttered stamp on all kinds of music, from reggae to industrial to jazz. The number of projects he's leant his name to is staggering. He's made psychedelic Afro-dub with Africa Head Charge, remixed Depeche Mode, hit the studio with Lee 'Scratch' Perry, dabbled in experimental hip-hop with Tackhead and overseen reggae collectives like Singers & Players. He burst out of the blocks in 2015, releasing a collaborative album with Pinch and starting a new compilation series called At The Controls. He stopped by our London office this month to discuss the highs and lows of his four-decade career
Algiers - Irony. Utility. Pretext.
"Irony. Utility. Pretext."
They said it’s not enough
just to shoot us down
It’s a sound that’s systematized
It’s a noise just to drown us out
But when your time is come
we’ll all be there
just to watch you fall
And then one by one
all the parasites will just fall off
You put your vote in a ballot box
This one’s marked UNDP
Inscribe your
tyrant’s name in blood
Choice is the guillotine
We’ll put our faith into Afro Pop
in a decolonized context
Espouse the aesthetes’
contempt for ethos
Irony. Utility. Pretext.
“Embrace primitive man”
(La-la-la-la-la, you say)
“Destroy primitive man”
(La-la-la-la-la, you say)
“With our art
we’ll transcend again”
You put your hand out to shake
Then they export you in chains
You fought
for centuries for change
And they gave you
more of the same
They swapped the dogs
and the cross
for sublimated forestalling
They changed the names
of the boss
until you forgot who it was
Find your favorite color
so you can wash it out
in your hymns
Correcting primitive cracks
into straight lines
Superiority is born again
We’ll put our faith into Afro Pop
in a decolonized context
Espouse the aesthetes’
contempt for ethos
Irony. Utility. Pretext.
But all you can say is...
HA!
You just know our s̶u̶b̶u̶r̶b̶a̶n̶ ̶s̶o̶l̶i̶c̶i̶t̶o̶r̶ sorry Attorney General will not understand this at all
Wha Dat Hi Fi In Session (1985)
Featuring: Little John, Pampidoo, Philip Fraser, Tippa Lee & Rappa Roberts, Yami Bolo, Danny Culture and Barry G
Via
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Luc Sante: Arleen
Let me play you “Arleen,” by General Echo, a seven-inch 45 on the Techniques label, produced by Winston Riley, a number one hit in Jamaica in the autumn of 1979. “Arleen” is in the Stalag 17 riddim, a slow, heavy, insinuating track that is nearly all bass—the drums do little more than bracket and punctuate, and the original’s brass-section color has been entirely omitted in this version. I’m not really sure what Echo is saying. It sounds like “Arleen wants to dream with a dream.” A dream within a dream. Whether or not those are his actual words, it is the immediate sense. The riddim is at once liquid and halting, as if it were moving through a dark room filled with hanging draperies, incense and ganja smoke, sluggish and nearly impenetrable air—the bass walks and hurtles. Echo’s delivery is mostly talkover, with just a bit of sing-song at the end of the verse. It is suggestive, seductive, hypnotic, light-footed, veiling questionable designs under a scrim of innocence, or else addled, talking shit in a daze as a result of an injury: “My gal Arleen, she love whipped cream/Every time I check her she cook sardine….”
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